The Portland daily press., 1887-01-26
OLD MASTERS,
Mr.. John e. DeWitt's Lecture to the
Art School.

The subject of Mr.. DeWitt's remarks last
| evening was the work Of the painters
Raphael. ID. Volterra, Rubens, Holbein,
Domenichino and Rembrandt, and his plan
was to give short sketch of their lives and
their manner of painting, illustrating the
latter by an exhibit of the following engrav-
| ings
Raphaels 1.-THE TRANSPORTATION Painted for
| the Church Of San Pietro in Montorie. Now in
the gallery of the Vatican. Engraving by Raphael
Morghen, born in Portici, 1855 died in Florence,
Daniello da volterra's ''fhe Descent from the
| Cross" Church of Trnita de Monti in Home
Engraved by Paoli Toschi born at Parma, 1888
Became director of the Academy of Fine Arts
Parma. Died 1858. Pupil Of Bervic
Rubens' THE Descent from the Cross" The
great altar-pieee in the Cathedral of Antwerp.
Engraved in 1908 by Lambutus Antonius Claes-
sens painter and engraver Born at Antwerp,
1764; died at Paris, 1884.
| Museum. Engraved by Moritz Steinla. Born in
Germany, 1871 died at Dresden, 1858. Pupil.of
Raphael Morghen and of Longhi.
Domenichin0's 1.-The Communion of St. Je
rome" Now IN the gallery of the Vatican Rome.
Engraved by Pierre Alexandra Tardieu. Born in
Paris, 1855; died in Paris, 1914 Especially a
pupll OF the famous engTaver John George Willie.
Rembrandt's Night Watch" Now in the
meng, eteher of the present day.
This exhibition was followed by pre-
sentation of the best reviews and criticisms
procurable of the artist, his time, and the
picture under consideration; the idea being
to submit to the attention of the school an
exhibition of the best known engrayings of
the paintings of these great masters, to-
gether with the ablest reviews and criticisms
of their works-with view of assisting the
pupils in their study, which is at present
mostly upon Scriptural subjects.
The following from the treatment Of
Domenichino may be taken as a specimen of
the whole:
In the Vatican gallery is to be found the
great picture of the Communion of St
Jerome by Domenichino. This artist, born
tInguished painter of the school of Carracci.
Guido and Albano were students of Carracci
at the same time. While his originality was
not great his expression and color are adj
mlrabie..,. He is often criticised for allowing
the auxiliary parts of his works to detract
from the interest of the principal figure. He
LETT Rome on account of the persecution of
rivals, only to be poisoned by them at
Naples. The history Of his life is full of in
cldents calculated to inspire the reader with
sympathy for one whose whole existence
seems to have been made miserable by
Jealous rivals. Even this picture, for paint
Ing which he received only about $50 was.
owing to quarrel, hid by the monks of Ara
IL.
fused to paint over it another picture
Mrs. Jameson wrote in her journal of this
picture as follows:
1.-The rest of the morning was spent in the
Vatican. | stood today for some time be-
Tween !1en the two, great masterpieces, the
TRANSFORMATION of Raphael and Domeni-
chino's Communion of ST. Jerome /
studied them figure by figure, and then in the
ensemble, and unused upon the different
effects they produce, until / thought / could
decide TO my. own satisfaction on their re-
spectiye merits. never can turn to the Do
menichino without being thrilled with emo
ten and touched with awe The story is told
with most admirable skill, and with the most
exquisite truth and simplicity: The interest
is one and the same; it all centers in the per
son OF the expiring saint, and the calm be-
nightly OF the officiating priest is. finely con-
traSted with the countenanceS of the group
who support the dying form of st. Jerome:
anxious tenderness grief, hope and fear are
expressed with such deep pathos and reality
that the spectator forgets admiration in SYM
pathy; and have .gazed until could almost
nave 1ancled myself one of the assistants.
The coloring is as admirable as the compost
-g0rgeously rich in effect. but subdued
to tone which harmonizes with the solem-
nifty OF the subject.
There is a curious anecdote connected with
this picture, which wish had noted down
at length as it was related to me as the time
heard it, 1t Is briefly this: The picture
was painted by Domenichin0 for the church
OF San Giroloma Deala Carita. At the time
the factions between the different schools of
painting ran so high at Rome that the fol-
lowers OF Domenichino and Guido absolutely
stabbed and poisoned each other, and popu-
ular prejudice being in favor of the latter,
the Communion of St. jerome" twas torn
down from its place and thrown into "a lum-
Der garnet. Some time afterwards the supe-
rlors OF the convent, wishing to substitute q
new altar-piece commissioned: Nicolo Pous-
sin to execute it, and sent him Dominichino's
rejected picture as old canvas to paint upon.
No sooner had the generous Poussin cast his
eyes on II than hel was struck, as well he
might be, with establishment and admiration.
He Immediately carried it to the church, and
there lectured in public on its beauties, until
ne made the stupid monks ashamed of their
Dllnd rejection OF such masterpiece, and
boldly gave it that character il has ever since
retained Of being the second best picture in